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Spectropop - Digest Number 1507

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Lee Hazlewood...  Why the difference in prices?
           From: Ray 
      2. Re: "Celebrate" controversey
           From: (That) Alan Gordon 
      3. Teddy Bears in Stereo
           From: Joe Nelson 
      4. Re: Superbabs
           From: (That) Alan Gordon 
      5. Re: Gene Pitney
           From: ACJ 
      6. Wizzard
           From: Simon White 
      7. Re: Murray the K and the power of the DJ
           From: Phil X Milstein 
      8. Jack Nitzsche at Spectropop update
           From: Martin Roberts 
      9. Re: Favorite obscure Pitney track??
           From: Al Quaglieri 
     10. A Visit to the Hall of Fame
           From: John Fox 
     11. Re: Rosetta Hightower
           From: Simon White 
     12. Re: Favorite obscure Pitney track??
           From: S.J. Dibai 
     13. "Waddle, Waddle"
           From: Julio Niño 
     14. Re: Barney Kessel R.I.P.
           From: Debbie Schow 
     15. Re: Love Of The Common People / Lee Hazlewood
           From: Austin Roberts 
     16. NYC Record Shops
           From: JJ 
     17. The Aquatones Story - from a founding member
           From: Country Paul 
     18. Re: Gene Pitney
           From: Gary Myers 
     19. Re: Favorite obscure Pitney track??
           From: Howard 
     20. Re: Favorite obscure Pitney track?
           From: ACJ 
     21. Re: Favorite obscure Pitney track??
           From: Michel Gignac 
     22. Record company, record stores, short takes
           From: Country Paul 
     23. Little Iva on Miracle
           From: Simon White 
     24. Re: Favorite obscure Pitney track??
           From: Ken Silverwood 
     25. Re: Gene Pitney
           From: Al Kooper 

Message: 1 Date: Mon, 31 May 2004 17:13:47 +0100 From: Ray Subject: Lee Hazlewood... Why the difference in prices? Lee Hazlewood - Trouble Is A Lonesome Town": Anyone know why there's a difference in the prices? UK: USA: As you'll notice... it's the same company... Just one ships from the UK, the other from the USA. Also the original price differs before the discounts... ray -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Mon, 31 May 2004 09:21:06 -0700 From: (That) Alan Gordon Subject: Re: "Celebrate" controversey Joe Nelson, the song "Celebrity Ball" (aka "Celebrate") was written by (me) Alan Gordon and Garry Bonner. Best, That Alan -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Mon, 31 May 2004 09:12:18 -0400 From: Joe Nelson Subject: Teddy Bears in Stereo Me, quoting from Dore catalogue at > Unfortunately, all stereo did for the Teddy Bears was to reveal in > painful detail the lack of singing talent in the group ... Phil Milstein: > I never knew The Teddy Bears were thought to be such lousy singers. > Am I the only one who didn't know they were "bad"? (It wouldn't be > the first time, if so.) Does this mean I should think less of > Annette/Carol's work on "My Baby Looks But He Doesn't Touch" than > I do? Or was it just the two boys who were such crappy singers? I thought the quote was dubious. First of all, stereo wasn't popular enough among fans of this kind of music in 1959 for a stereo mix to do that kind of damage in the public eye as most listeners would only be familiar with the mono mixes. Second, how much detail are you going to hear vocally in what was most likely a three track recording? It wasn't like all three singers were spread out in stereo the way that, say, Peter Paul And Mary usually were (allowing the listener to pinpoint the individual singers and parts). There's more to this than just that one incident, but it's a fascinating story nonetheless. Joe Nelson (fully aware that much of the PP&M catalog was recorded on three track...) -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Mon, 31 May 2004 09:27:12 -0700 From: (That) Alan Gordon Subject: Re: Superbabs Hal M., I ate before I got there! I did not play anything. Barbra sang my songs better than I could anyway. As a matter of fact, after hearing all the great voices, I was, to be honest with you, rather intimidated. But it was still a wonderful evening. Best, That Alan -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Mon, 31 May 2004 14:17:59 -0400 From: ACJ Subject: Re: Gene Pitney For Austin Roberts: "I Wanna Love My Life Away" was indeed Gene's first major (Top 40) hit under his own name, and only the second single period to bear his own name. ACJ PS: Be back soon with my favorite obscure Pitney track - I have to listen to 'em all before I can decide on one! -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Mon, 31 May 2004 18:10:41 +0100 From: Simon White Subject: Wizzard I liked Wizzard before I knew I liked Phil Spector! I bought "California Man" on a 45 when I was only listening to Rock and Roll as a youth and subsequently all the Wizzard 45's that followed. My complete and utter favourite was "Angel Fingers" which I recieved as a birthday present on my 13 or 14th birthday and virtually wore out. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Mon, 31 May 2004 14:23:54 -0400 From: Phil X Milstein Subject: Re: Murray the K and the power of the DJ Given the kind of force that radio exerts on the record market, and given the importance of the New York market in particular, it's not surprising that so many stars would've felt the need to pal around with Murray the K despite the fact that (whatever his good or bad qualities) he wasn't exactly the kind of guy they'd otherwise have been caught dead palling around with. The same force, in fact, is probably what helped Murray, Freed, and many other DJs line up the kind of talent that they did for the revue shows they presented, at far below market-rate fees. For the artist to deny such "requests" is practically akin to career suicide. This same dynamic exists to this day, although such shows are generally annual events and under the banner of an entire station rather than a single DJ. It's also what brings us payola, and the very reason why it will always exist in some form or another. Artists and labels need radio in order to sell records, and will do whatever it takes to gain and maintain access to it. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 01 Jun 2004 06:25:28 +0100 From: Martin Roberts Subject: Jack Nitzsche at Spectropop update Continuing the short season of Lee Hazlewood and Jack Nitzsche collaborations, I'm pleased to present another obscure 45 as this week's "Record of the Week". Playing on the home page: Ladies and gentlemen, a big Saturday Night welcome for a group that needs no introduction from me, The Crab Creek County High School Band - with The Gantry Mission Trumpets and their rendition of "Chivaree". Copies of their new 45rpm, on the Old Town record label, are available for purchase in the auditorium after their performance. I thank you. Martin -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Mon, 31 May 2004 12:16:25 -0400 From: Al Quaglieri Subject: Re: Favorite obscure Pitney track?? "Nobody Needs Your Love" - a late-career hit in the UK, not even released on single in the U.S. Tough to find on CD, finally found it on "The Very Best of Gene Pitney" (Music Club MCCD 155). -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Mon, 31 May 2004 15:00:49 EDT From: John Fox Subject: A Visit to the Hall of Fame I just got back from visiting the R&RHOF in Cleveland with my son, and we were struck by the tremendous inconsistency of the "official" hall inductees. I thought this would be a good thread starter for Spectropop. There are really three issues: (1) the deservedness of induction; (2) the transitive property (like with the Baseball Hall of Fame--if Phil Rizutto gets in, shouldn't Pee Wee Reese?); and (3) who qualifies as a member of a group? Regarding #1, it appears that commercial success is not only not a qualification, it could count against you. As a huge fan of Chicago's first 2-3 albums but detesting all their later work, they should still be inducted. And our own Al Kooper should be in there if for nothing else than lifetime achievement for his innovative involvement with Dylan, The Blues Project, BS&T, Lynyrd Skynyrd, etc. Which brings me to #2. In 2002, both Brenda Lee and Gene Pitney were inducted. I'm not arguing with either of those, but if they're in, then why not Connie Francis the Neils Sedaka and Diamond? George Martin is in, Brian Epstein is not. And Pat Boone did more for rock & roll than Mo Ostin. Now, for group definitions: Why Smokey Robinson and no Miracles? Why Booker T. & The MGs including both Lewie Steinberg (who?) and Duck Dunn, but the Beach Boys without Bruce Johnston? Why about 12 members of Earth, Wind & Fire and what seems to be about 30 members of Parliament/ Funkadelic, but only Becker & Fagen from Steely Dan? Hell, Pete Best and Stu Sutcliffe have a legitimate beef! As for exhibits, there is disappointingly nothing on The Doors, and I'll leave you with this anecdote: I wanted my son the see some footage of Jackie Wilson, but we could not find any among the various kiosks. So I went to the information desk and asked the man there if the Hall had any video footage of Jackie Wilson. The guy's reply was, "Is she an inductee?" John Fox -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Mon, 31 May 2004 18:18:30 +0100 From: Simon White Subject: Re: Rosetta Hightower Will Stos: > Is Rosetta (Hightower) still performing? Rosetta appeared at "The Rocket", a northern soul club in London in 2002. I understand from the M.C. on the night that she hadn't appeared anywhere live for some years. I attended, indeed I deejayed there. At least one other member of this list was in attendance and he may be able to give us his veiws on the night. I understand Rosetta has lived in the UK for some years and indeed her version of Timi Yuro/Baby Washington's "It'll Never Be Over For Me" was recorded here and is now a bona fide northern soul anthem. Simon -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Mon, 31 May 2004 18:52:53 -0000 From: S.J. Dibai Subject: Re: Favorite obscure Pitney track?? Al Kooper: > OK, come outa the basements, lads... Favorite obscure Pitney trax? "Eyes Talk" from the "Backstage" album (aka "Nobody Needs Your Love" in the UK) would probably be my favorite. "Losing Control" (from "Just One Smile") is a definite runner-up.....shoulda been a single! S.J. Dibai -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Mon, 31 May 2004 20:52:18 -0000 From: Julio Niño Subject: "Waddle, Waddle" Hola Everybody: Mick Patrick: > Someone was asking about the great songwriter Rudy Clark. One > of his compositions is currently playing @ musica: The Bracelets > "Waddle, Waddle" (Congress 104, 1962). Some of you might recall > this track from the movie Hairspray. Great song. Is the main voice a girl or a boy? (it seems that I always have trouble distinguishing between boys and girls). I like the film "Hairspray" a lot. I usually watch the movie when I feel depressed, and somehow it always makes me feel better. Chao. Julio Niño. -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Mon, 31 May 2004 14:21:01 -0700 From: Debbie Schow Subject: Re: Barney Kessel R.I.P. The S'pop Team recommended: > > It's required reading. Thank you Spectropop and a hello and a thank you to Harvey Kubernik for that very fine and fitting tribute to Barney Kessel. Yes, required reading for all on this list. Debbie Schow -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Mon, 31 May 2004 15:21:39 EDT From: Austin Roberts Subject: Re: Love Of The Common People / Lee Hazlewood Bob Rashkow: > I believe among several different groups that covered Love of the > Common People were The Winstons, the R&B group on Metromedia that > had a pretty big hit with "Color Him Father." (Unless, of course, > that isn't the same song being discussed--I wouldn't be surprised!!!) Right group, right song. The Winstons had a decent sized hit with it, pop. Not as big as Color Him Father. Holly, Do you or anyone know where Lee Hazlewood is living now and how to get a hold to him? Austin Roberts -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Mon, 31 May 2004 17:31:00 EDT From: JJ Subject: NYC Record Shops > Calling all your collective experience: what are best record stores > in New York for 60s pop/pop-sike/psych 45s, boots, comps even cdrs? Wowsville off St Mark's Place in the East Village is a treasure trove, as is Midnight Records on W.23rd St near 8th Ave for the above mentioned genres. JJ -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Tue, 01 Jun 2004 00:02:11 -0400 From: Country Paul Subject: The Aquatones Story - from a founding member Over the past week I've had the opportunity to connect with Aquatones founding member Dave Goddard, who spent a lot of time discussing the past, present and future of the group. In the light of the recent discussions about the Aquatones, I think you'll find many of his comments both interesting and enlightening. Country Paul ----- COUNTRY PAUL PAYTON: [I own] an original pressing of your LP, given to me by Lou Fargo himself when it was new! DAVE GODDARD: I was amazed that you got [it] from "Uncle Lou" Fargo himself! How did you happen to know him? CPP: I was Music Director for WBRU....[T]o increase record service, I took it upon myself to walk around 1619 and 1650 Broadway (as well as a few other places) introducing myself and the station. It was on one such trip I met Lou Fargo. The label was by then [1964] past its prime - why he didn't do the album on you when you were new and hot is still a cause for wonder - but it was very neat to have the LP. Subsequently, I bought the expanded reissue on Relic (vinyl, of course), so I think my collection is complete, save for your new CD. DG: I'm fortunate to have *three* copies of [the original] LP. One was mine, and I gave copies to my mother and my aunt - they are both deceased, and I was the "residual beneficiary" in each case. Good planning, huh? According to Lou, his son Mike pushed him into making the LP. Remember, this was 1964 - and our singles were from 1958 to 1961 - and LPs hadn't "come into their own" quite yet. So the thought of an LP never hit us in the 50s. For instance, right before Larry [Vannata] and I went away to college and Gene [McCarthy] was headed to the Navy (August 1958), we had a pretty large recording session - recorded 5 songs - but the objective was to have several "singles" that Fargo could release while we were away, *not* to make an "album". BTW, now that I've given it *much* thought, I do remember asking Fargo - why 5 songs? Why not an even number so we could get 3 records out of it? And Lou said that we'd recorded some demo's earlier that summer that he could use - which he did. ("My Darling" and "For You, For You".) BTW, you might want to listen to "For You, For You" on the Fargo LP, and compare it to the version on the Relic LP - two TOTALLY different recordings! The Relic version was never released as a single; like the "studio version" of "You", it was SO bad that not even Lou Fargo wanted to release it! And I tease the heck out of my friends when they send out the "studio" version as "Fargo 1111" - which it was NOT! I assume you're aware that Relic also issued a CD of our old recordings, and there are a few differences between their LP and their CD. There was another CD released around 2000 or so by the company ("Hot JWP Music") that bought the master recordings from Donn Fileti (Relic) - and for all the new owner's crowing about how good the re-mastering of *his* material sounded (not that *we* had anything to do with how *his* material sounded, you understand!), it didn't add a thing to what the Relic CD had - in fact, was missing some tracks. I can't let you go through life without hearing Colette [Delaney, the new lead vocalist,] sing!....The new version of "You," recorded in 2001, is from our new CD, "40 Years Later." [You can sample it at I hope you're favorably impressed with the similarity to the original. CPP: The new "You" *is* really nice. DG: On the original "You", there was no bass guitar, only piano and drums. (It had been recorded as a "demo"!)....Seems to me we had only piano, bass, and drum on the new recording - I figured adding a bass wouldn't hurt. By the way,...Larry [was] the real writer of "You." He and I shared writers' credits on our first record, because we'd each written one side and Fargo was pushing them both and didn't want that to become a "sore point" between Larry and me if one side took off - which, of course, it did. You may be interested in the fact that there are ten (of the 23) tracks on our "new" CD ("40 Years Later") that were either newly written or never before recorded. Six of them were written in 2000, two in 1991, one in 1959 and one in 1957. (I wrote 'em all.) I tend to think that several of them are better than anything we did in the old days (excluding "Crazy For You", which is also on the new CD, and I share your enthusiasm for that song and version), but of course maybe I'm prejudiced! CPP: Guess I'm going to have to order a copy to complete my Aquatones collection! Sounds like a plan! Seriously - I've been told by many people that they can't tell the difference in "sound" between my new material and the old songs - which is precisely what I was aiming for. And since I've rarely listened to music since, oh maybe the late 60s, my tastes haven't been "contaminated" by newer music forms. So when I "think ballad", I "hear" the "plink-plink-plink" triplets that I always heard in doowop. CPP: Colette has a lot of the feel that Lynne Nixon [original lead singer, who passed on in 2001] had. I'd love to see you folks perform live! How many of the original folks are still in the group? If I remember correctly, you were also "self-contained," playing instruments as well as singing. Is that still the case? DG: From the website: "[In 2001,] thanks to Dick Plotkin and Debra Records, Dave and the rest of the Aquatones - including both of the other original male group members, Gene and Larry - went back into the recording studio to record their new CD. After the CD was released and the group started preparing to do concert work, they realized that it would be impossible to rehearse properly with the original members spread out over the country. So, since both Dave and Colette were in Louisville (KY), they found two new members from Louisville to become part of the 'performing group' of Aquatones - Rich Hornung and Paul King. Together, this 'new' group of Aquatones has appeared on TV ('Red, White and Rock' on PBS in 2002), at Madison Square Garden in New York, and at numerous other venues. The fantastic vocal harmonies delivered by this group has earned them praise wherever they have performed." Louisville is not a big doowop town - although it's a decent "oldies music" town. But we never considered ourselves a "doowop" group, probably because the term hadn't been invented yet! (And I get annoyed by the "fine tuning" some folks try to do with the definition of that term.) We were a Rock and Roll group in the old days, and Rock and Roll included - and continues to include - doowop. Yes, we started off as "self-contained" - Larry and Gene played sax, I played piano, and we had a non-singing drummer (Bob Boden) with us. But when Lou Fargo "discovered" us, he wanted only the vocal group, so poor Bob got screwed on that one. ("The Pete Best of the Aquatones", as I like to call him!) So, other than some of our demo recordings (on which I'm playing piano) which became released records (including "You"), we never played our own instruments on our records. CPP: I also think your [1961 version of] "Crazy For You" eclipses the original by The Heartbeats - and that's sayin' something! DG: I readily admit that Spector (not that I knew who "Phil Spector" was in 1960!) influenced our arrangement of that song - namely, "bass riffs" done by a tenor! But of course we ALSO copied the REAL bass riffs as done by the Heartbeats. (And I'm pleased to say that I sang both of those parts, egotist that I am!) Hey - I love that kind of stuff! CPP: You sang both tenor and bass? How many tracks did you have to overdub? Or did you hopscotch between the parts? DG: FYI (and I have to give you the "long version" on this story!), at our last recording session (late August or early Sept. 1960), Gene was in the Navy and couldn't be there. So Larry and I overdubbed our voices (once each), giving a "5-voice" sound to those recordings. (And that's how I did both parts on "Crazy For You".) Unfortunately, somewhere along the line, the "5-voice" versions (which were released on 45s) for 3 of the 4 songs recorded were "lost" - the only one that survived was "Crazy For You". That's the version on the Relic LP - although both the 5-voice and the 3-voice (prior to overdubbing - and the 3-voice versions might have even been totally different takes - Larry seems to think so - I haven't bothered to "study" them that closely) versions of "Crazy For You" were on the Relic CD, with the 5-voice version incorrectly labeled as "alternate take." But of the other 3 songs - "Every Time", "There's A Long, Long Trail", and "Wanted (a Solid Gold Cadillac)" - only the 3-voice versions have been heard on LPs or CDs except for the original Fargo LP. (And that's one reason we re-recorded "Every Time" and "Cadillac" for the new CD - especially the latter song made no sense without the bass part's words! Compare the versions on the Fargo and Relic LPs and you'll see what I mean). Oh, speaking of the Fargo LP - did you notice that neither "Crazy For You" nor "Long, Long Trail" were on there? Those just happen to be the only two songs we recorded in the old days that we did not write ourselves. You don't think that having to account to some other publisher for record sales would have been the reason why good old Uncle Lou left those songs off the LP, do you? Nah! Lou wouldn't have thought like that! (Yeah, right!) CPP: May I ask permission to pass along some of your relevant comments to the Spectropop list? (Unless, of course, you'll be joining us and sharing them yourself!) DG: You have my permission to pass [them] along....I am NOT a "student of the art" - I have no interest in "studying up" on what was going on in the music scene back then. I just have my own memories of what *we* did (and what I heard on the radio in those days). I fear that my memory is ridiculously clear on those events - so much so that, if I'm asked a question about the old days, the first part of my response is, "How much time have you got?"!! Anyway, if you do decide to order the "new" CD (and we have another one "in the works" - with the current group - but I have no news on a release date or any other information about it), I'll be interested in your reaction. ------ Dave sent an e-mail postscript on May 31st: DG: I forgot to tell you this, Paul. A few weeks ago, I'd gotten an e-mail from my friend Larry Vannata (original Aquatones), linking me to an article about his friend Pete Antell (whom I know reasonably well too). It was one of those things where I didn't have time to connect with the link just then, but this weekend I was trying desperately to clean out my email inbox so I finally read the article about Pete and his connection with The Percells - and only THEN did I see that it was on Spectropop! (And of course I noticed it just now again, when I read the Carol Connors interview.) Small world, huh? And I didn't even know that about Pete - I only knew him as a musician friend of Larry's. -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Mon, 31 May 2004 21:02:35 -0700 From: Gary Myers Subject: Re: Gene Pitney Previously: > I WANNA LOVE MY LIFE AWAY? ... > Was cut as a demo in a NY studio...probably Allegro in 1650 B'way. Austin Roberts: > Was it his first hit under his name? Yes. #39 in BB, 08 wk chart run beginning 1/30/61. In CB, #31, 13 wks. gem -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Mon, 31 May 2004 17:12:33 EDT From: Howard Subject: Re: Favorite obscure Pitney track?? Al Kooper wrote: > OK, come outa the basements, lads... Favorite obscure Pitney trax? I'd like to nominate "She's A Heartbreaker", a great Inez & Charlie Foxx composition. Howard -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Mon, 31 May 2004 22:25:37 -0400 From: ACJ Subject: Re: Favorite obscure Pitney track? Y'know, I can't decide on just one obscure favorite, so I'll name my two favorites. They are "Something's Gotten Hold of My Heart" (I'm still looking for a copy of the single) and "There's No Livin' Without Your Lovin'", which is not only one of the biggest hits Gene never had, but one of the biggest hits the Righteous Brothers should've had! Hoowee! ACJ -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Tue, 01 Jun 2004 04:48:57 -0000 From: Michel Gignac Subject: Re: Favorite obscure Pitney track?? "Billy, You're My Friend", in 1968, was a grandiose song. What a thrill to communicate with you, Al! Michel -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Tue, 01 Jun 2004 01:40:50 -0400 From: Country Paul Subject: Record company, record stores, short takes Al Kooper: > Where do we go when we're in our 60's and don't wanna do the > accounting work involved in paying other publishers and writers if > we self release? I love recording other peoples material as well as > my own. Always have. I've had my own label and don't really wanna > go there again. Too much too much if ya know wot I mean, mates...... At one point I thought of doing a label, but the accounting and bookkeeping could kill ya. But aren't there any labels out there, like Gold Castle once was, who are issuing new work by known artists who have "aged out" of the major-label machinery? Oh Boy, for example? Would any of the specialty labels like Ace, Rev-ola, etc., be interested? They've certainly got the royalty mechanics set up. Earlier: > Calling all your collective experience: what are best record stores > in New York for 60s pop/pop-sike/psych 45s, boots, comps even cdrs? Rashkovsky; > Years ago; Times Square Records and Colony. There also used to be > a real good store in Hackensack or near Hackensack, but I can't > remember the name. Relic Records in Hackensack just closed. Best doo-wop is in New Jersey: Clifton Records, 135 Main Ave.,Clifton -, run by Ronnie I, head of UGHA [United in Group Harmony Association], also with a website at Also Avenue D Records, out on Long Island, has a good rep, though I've never been there. In New York City: Downstairs Records on 6th Avenue ("Avenue of the Americas" for out-of-towners) is actually upstairs, somewhere in the 30s. There are also some good stores on Greenwich Avenue in Greenwich Vilage, but the names escape me. For punk and off-the-wall stuff, St. Mark's Place (part of East 8th Street) has some stores; they'd treat S'pop music as retro kitsch, but might stock some. Short takes: Lex Cody, nice job on Also enjoyed your Mr. Frumpy graphics site. Austin Roberts, Statues>Casuals? Maybe. The group really sounds like Marijohn Wilkin's chorus. I think I have a Buzz Cason 45 or two in the library; I'll listen and compare vocals. Country Paul -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Tue, 01 Jun 2004 07:23:42 +0100 From: Simon White Subject: Little Iva on Miracle In answer to an earlier query, Little Iva on Miracle is Raynoma Gordy co owner of Motown. -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Mon, 31 May 2004 23:53:01 +0100 From: Ken Silverwood Subject: Re: Favorite obscure Pitney track?? Al Kooper: > OK, come outa the basements, lads... Favorite obscure Pitney trax? > Mine is One Day. Also love Donna Means Heartbreak & Marianne. I > covered One Day on a Pitney tribute album about three years ago. > Wot fun!!!!! And I'll throw my hat in the ring with "The Ship True Love Goodbye". Ken On The West Coast -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Mon, 31 May 2004 16:57:26 EDT From: Al Kooper Subject: Re: Gene Pitney > I WANNA LOVE MY LIFE AWAY? In fact (and this could of course be wrong, > for I am so fallible), didn't he do it in his garage? > Was cut as a demo in a NY studio...probably Allegro in 1650 B'way. > Was it his first hit under his name? Why yes - produced by Aaron Schroeder who also managed and published him. He wrote under the name of A. Orlowski every now & then. -------------------[ archived by Spectropop ]-------------------
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